CHAPTER IV.
THE DRAWING-ROOM.
Twenty-four Boys bending over the Drawing-board. — Analysis and Synthesis in Drawing. — Geometric Drawing. — Pictorial Drawing. — The Principles of Design. — The Æsthetic in Art. — The Fundamentals. — Object and Constructive Drawing. — Drawing for the Exercises in the Laboratories. — The Educational Value of Drawing. — The Language of Drawing. — Every Student an expert Draughtsman at the end of the Course.
Passing from the engine-room we enter the room assigned to drawing,—the first step in art education—where twenty-four boys are bending over the drawing-board, pencil in hand. Every school-day for three years these boys will spend an hour in this room. Each division of drawing—free-hand and mechanical—is thoroughly taught. Every graduate of the institution will be an expert draughtsman. The room is very still, only the scratching sound of twenty-four pencils is heard. The instructor moves about among the students, with here and there a hint, a suggestion, a correction, or a word of commendation—“good.”
Drawing is the representation on paper of the facts, and the appearance to the eye of forms. The exercise proceeds by both analysis and synthesis. A cube is divided into all the geometric figures of which it is susceptible, and these figures are imitated with the pencil on paper. Then the figures are reunited, and the cube is similarly imitated. As the child in the kindergarten is taught several fundamental geometric facts through the use of variously subdivided cubes, so the student of drawing is taught by a similar process how to represent these fundamental facts on paper. For example (1), the student is taught to draw the following (sketches [1, 2, and 3]) geometric forms of the square, oblong, and circle; (2) he is taught (sketches [4, 5, 6, and 7]) to represent the facts of the oblong block and cylinder; (3) these facts are expressed as follows (sketches [8 and 9]) in working drawings. Sketches 8 and 9 are such drawings as would be placed in the hands of a mechanic as plans for the manufacture of the solids they represent; and the most elaborate working drawings for building and mechanical purposes are merely the complete development of this division of the art.
Another division of drawing consists in the representation of solids or objects as they appear to the eye or pictorially. The oblong block and cylinder, for example, appear to the eye very differently from their facts represented in the working drawings ([sketches 8 and 9]), as thus—(sketches [10 and 11]).
The development of this division of drawing leads to general pictorial representation.